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It was the custom of amateur poets to have recourse to literary craftsmen before they ventured to circulate their compositions. An amusing instance of this will be found in Professor Biagi's monograph upon Tullia d'Aragona, all of whose verses passed through the crucible of Benedetto Varchi's revision.
"And build altars to the unknown love," added Gouache. Madame d'Aragona smiled faintly, but Orsino persisted in looking grave. "It seems to be an unpleasant subject, Prince." "Very unpleasant, Madame," answered Orsino shortly. Thereupon Madame d'Aragona looked at Gouache and raised her brows a little as though to ask a question, knowing perfectly well that Orsino was watching her.
"What is there so very unusual about my eyes?" she enquired. The smile grew a little more faint and thoughtful but did not disappear. "In the first place, I have never seen eyes of a golden-yellow colour." "Tigers have yellow eyes," observed Madame d'Aragona. "My acquaintance with that animal is at second hand slight, to say the least." "You have never shot one?" "Never, Madame.
One of the oldest pieces of majolica in the Correro Museum in Venice, Solomon worshiping the idol, bears the date 1482. As early as the fourteenth century this art was cultivated in Pesaro, and it was in a very nourishing condition during the reign of Camilla d'Aragona. There are still some remains of the productions of the old craftsmen of the city in the State-house of Pesaro.
"An entrance is very easily procured," answered the guide. "In fact I have one in my pocket, as it happens. I bought it for twenty francs this morning, thinking that one of my foreigners would perhaps take it of me. I do not even gain a franc my word of honour." Madame d'Aragona glanced at the slip of paper. "Not that," she answered. "Do you imagine that I will stand?
Tullia D'Aragona was very beautiful, with yellow hair, and remarkably large and bright eyes, which dominated those who came near her. Tullia D'Aragona was clearly not a courtesan at heart. Perhaps the most typical example of the Renaissance courtesan at her best is furnished by Veronica Franco, born in 1546 at Venice, of middle class family and in early life married to a doctor.
"Donna Maria Consuelo something or other a string of names ending in Aragona. I call her Madame d'Aragona for shortness, and she does not seem to object." "Married? And Spanish?" "I suppose so," answered Gouache. "A widow I believe. She is not Italian and not French, so she must be Spanish." "The name does not say much.
He recognised each feature in turn in the one look he gave at the face before he bowed, and he saw that the portrait was indeed very good. He was not subject to shyness. "We should be cousins, Madame," he said. "My father's mother was an Aranjuez d'Aragona." "Indeed?" said the lady with calm indifference, looking critically at the picture of herself.
The fame of Vittoria Colonna, Tullia d'Aragona, Olympia Morata, and many others who merit association in this goodly company, proves the generous spirit of the age, when in the scholastic centres of Italy women were free to study all branches of learning.
Rodrigo's mother laid claim to the property he left, which, as is shown by certain documents, she recovered from Isabella d'Aragona as guardian of the deceased, to the amount of several thousand ducats. To do this she was forced to engage in a long suit, and as late as March, 1518, she sent her agent, Giacomo Naselli, to Rome and Naples regarding it.
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